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  • 51.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Erik Kjellberg, Arvet efter Johann Sebastian Bach: En äventyrlig historia2019In: Tidig musik: magasinet för musik från medeltid, renässans och barock, ISSN 1400-5123, Vol. 39, no 3, p. 33-33Article, book review (Other (popular science, discussion, etc.))
  • 52.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    "Four Marriages and a Funeral" - Die Institution des Hofkapellmeisteramtes in Stockholm 1792-18182018In: Das Amt des Hofkapellmeisters um 1800: Bericht des wissenschaftlichen Symposiums zum 250. Geburtstag des dänischen Hofkapellmeisters Friedrich Ludwig Aemilius Kunzen (1761-1817), Det Kongelige Danske Videnskabernes Selskab / Royal Danish Academy of Sciences and Letters, 27. September 2011 / [ed] Joachim Kremer, Heinrich W. Schwab, Neumünster: Bockel , 2018, p. 59-89Chapter in book (Refereed)
  • 53.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Franz Berwald Sämtliche Werke, Band 25, Supplement. Ola Eriksson, Michael Kube, Bonnie Lomnäs och Erling Lomnäs. Red: Margareta Rörby. Kassel: Bärenreiter, 20122014In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 96, no 1, p. 3-6Article, book review (Other academic)
  • 54.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gunnar Bucht. 2016. Mitt liv är en roman som intresserar mig mycket. Hector Berlioz: musiken, människan, tiden.2019In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 101, p. 293-295Article, book review (Other academic)
  • 55.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Halevy's La juive in Stockholm 1835-18662017In: Dokumenterat, E-ISSN 1404-9899, Vol. 49, p. 17-41Article in journal (Other academic)
  • 56.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Halévy’s La Juive in Stockholm, 18662018In: Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe / [ed] Jens Hesselager, Routledge, 2018, p. 80-94Chapter in book (Refereed)
    Abstract [en]

    The opera La Juive by Fromental Halévy was first performed in Paris in 1835. It rapidly became a worldwide success, and was performed – and discussed – all over Europe within a few years of the Parisian premiere. La Juive was first performed in Stockholm 1866. This chapter deals with especially the press reactions to the first performance. The case of the reception of Halévy’s La Juive is a good example of the complex interaction and mobility of ideas, aesthetics, musical works, performers, performance practices, vocal and instrumental techniques, but also in acting, direction, production and scene techniques during the period.

  • 57.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hur Figaro kom till Sverige2014In: Figaros bröllop / [ed] Astrid Pernille Hartmann, Göteborg: Göteborgsoperan , 2014, p. 50-54Chapter in book (Other (popular science, discussion, etc.))
  • 58.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Hur importen byggde upp kulturlivet: Essärecension av Tomi Mäkelä ”Fredrik Pacius, kompositör i Finland”2010In: Hufvudstadsbladet, ISSN 0356-0724, no 21/1Article, book review (Other (popular science, discussion, etc.))
  • 59.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Joachim Nikolas Eggert: Symphony in E-Flat Major (Score) (Edited by Avishai Kallai and Jari Eskola) Stockholm: Musikaliska konstföreningen, 2010. och Joachim Nikolas Eggert: Symphony in C-Major (Score) Stockholm: Musikaliska konstföreningen, 20102011In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 93, p. 96-98Article, book review (Other academic)
  • 60.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Johann Gottlieb Naumann und die Hofkapelle in Stockholm2006In: Johann Gottlieb Naumann und  die Europäischen Musikkultur des Ausgehenden 18. Jahrhunderts: Bericht über das internationale Symposium vom 8. bis 10. Juni 2001 im Rahmen der Dresdner Musikfestspiele 2001 / [ed] Ortrud Landmann und Hans-Günther Ottenberg, Hildesheim, Zürich, New York: Georg Olms Verlag , 2006, p. 227-248Chapter in book (Refereed)
  • 61.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Judinnan i Sverige2014In: Judinnan / [ed] Astrid Pernille Hartmann, Göteborg: Göteborgsoperan , 2014, p. 32-37Chapter in book (Other (popular science, discussion, etc.))
  • 62.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    La juive in Stockholm- traces and interpretations2014In: Abstract: konferensens hemsida, 2014Conference paper (Refereed)
  • 63.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Lindblad och Almqvist: Eva Öhrström, 2016. Adolf Fredrik Lindblad: en tonsättare och hans vänner. Skellefteå: Artois och Norma bokförlag. ISBN 978-91-7217-109-1. Lennart Hedwall, 2014. Tondiktaren Carl Jonas Love Almqvist: en musikalisk biografi. Hedemora: Gidlunds förlag. ISBN 978-91-7844-900-22017In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 99, p. 154-157Article, book review (Other academic)
  • 64.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Ludvig Norman. Konsertstycke för piano och orkester F-dur op 54.2008Other (Other (popular science, discussion, etc.))
  • 65.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ’… musikens högsta och rikaste konstform …’ – aspekter på instrumentation, orkestrering och satsteknik i Alfvéns tre första symfonier2012In: Hugo Alfvén – liv och verk i ny belysning / [ed] Gunnar Ternhag och Joakim Tillman, Hedemora: Gidlunds , 2012, p. 41-64Chapter in book (Refereed)
  • 66.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Normförskjutningar på de stora institutionerna2019In: Tidig musik : magasinet för musik från medeltid, renässans och barock, ISSN 1400-5123, Vol. 39, no 1, p. 18-20Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    När tidig musik-rörelsen blev allt mer livaktig i mitten av 1900-talet var den hela tiden verksam utanför det institutionella musiklivet. Men det har hänt något under de senaste åren.

  • 67.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Noterna missar många toner2018In: Forskning & framsteg, ISSN 0015-7937, no 6, p. 59-60Article in journal (Other (popular science, discussion, etc.))
  • 68.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Opera as a showcase for the modern: the Stockholm opera 1790-18202015Conference paper (Other academic)
  • 69.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Orginalpartitur till Wagners Rienzi återfunnet på Operan2016In: OV-revyn, ISSN 0282-7700, p. 14-16Article in journal (Other (popular science, discussion, etc.))
  • 70.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Patos och tradition: En bok om och med dirigenten Tor Mann2012In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 94, p. 118-119Article, book review (Other academic)
  • 71.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Rienzi in Swedish (1865): the case of the Stockholm score2015In: The Wagner Journal, ISSN 1755-0173, Vol. 9, no 2, p. 19-34Article in journal (Other academic)
  • 72.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Robert Schumann 200 år2010In: Musikmagi, Berwaldhallens programtidning, no janArticle in journal (Other (popular science, discussion, etc.))
  • 73.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Rossinis musik: en flerstegsraket2017Other (Other (popular science, discussion, etc.))
  • 74.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Ständigt denne Mozart2014In: Programtidning: Radiokören, Sveriges Radios Symfoniorkester, p. 6-7Article in journal (Other (popular science, discussion, etc.))
  • 75.
    Ander, Owe
    Stockholm University.
    "Svenska sinfoni-författares karaktäristiska orkester-egendomligheter": aspekter på instrumentations-, orkestrerings- och satstekniken i Berwalds, Lindblads och Normans symfonier2000Doctoral thesis, monograph (Other academic)
  • 76.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Symfoniorkestertn växer fram2018In: Tidig musik: magasinet för musik från medeltid, renässans och barock, ISSN 1400-5123, no 2, p. 24-26Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Symfoniorkestern har blivit till en omfattande kulturell företeelse med liknande besättning, repertoar, teknisk skolning och spelpraxis från San Francisco och Reykjavik till Umeå, Tokyo och Murmansk. Så har det inte alltid varit. Owe Ander berättar om den moderna symfoniorkesterns framväxt.

  • 77.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    The Rienzi score in Stockholm – a recently discovered Wagner autograph?2014In: Dokumenterat : bulletin från Musik- och teaterbiblioteket, ISSN 1404-9899, no 46, p. 35-59Article in journal (Other academic)
  • 78.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    ”The Wealt of the Nations”: Die Stockholmer Oper und die Entwicklung einer nationalen Identität in Schweden2011In: Studia Musicologica Academiae Scientiarum Hungaricae, ISSN 0039-3266, Vol. 52, no 1-4, p. 443-455Article in journal (Refereed)
  • 79.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology.
    Tomi Mäkelä: Fredrik Pacius, kompositör i Finland2010In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 92Article, book review (Other academic)
  • 80.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Traces of a performance: A presentation and critical examination of the sources regarding the Rienzi premiere in Stockholm 18652015Conference paper (Refereed)
  • 81.
    Ander, Owe
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Wagnerreceptionen i Sverige 1840-18652014In: Musikforskning idag: Växjö, 11-13 juni 2014, 2014Conference paper (Other academic)
    Abstract [sv]

    Den svenske lexikografen Leonard Höijer (1815–1885) skrev 1864 i sitt Musiklexikon: ”Hans [Wagners] opera Tristan och Isolde har ännu inte blivit uppförd, men utkommit i partitur och clavérutdrag”. Hans kommentar är karaktäristisk för den svenska situationen, där många kände till Wagners sena Musikdramen, redan innan någon av Wagners tidigare operor hade satts upp på Kungliga teatern i Stockholm. Pappret har för avsikt att undersöka den Svenska Wagner-receptionen från 1840-talet, fram till och inkluderande produktionen av Wagners grand opéra Rienzi i Stockholm i juni 1865.

    Första delen behandlar Wagnerreceptionen i Sverige före Rienzi: svenska musikers (sångare, dirigenter) kontakter med Wagners musik och skriftställeri under resor och studieuppehåll på kontinenten; de tidigast kända Wagnerframförandena (Foroni, Smetana, Czapek) i Sverige; publicering av noter och texter samt Wagner i massmedia. Andra delen behandlar förberedelserna inför och framförande av Rienzi 1865. Uruppförandet placeras in i sin historiska kontext samt yttre förutsättningar (den svenska grand opéra-traditionen, besättningsutveckling). Framförandet i Stockholm var det första av Rienzi utanför det tyska språkområdet och det andra över huvud taget av en Wagneropera. (Det första var det beryktade Tannhäuserframförandet i Paris 1861.) Det svenska källmaterialet är synnerligen rikhaltigt och i flera avseenden intressant. Receptionshistoriska aspekter.

  • 82.
    Ander, Owe
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology. Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies.
    Hallgren, Karin
    Franz Berwald. Profane Vokalwerke II.: Franz Berwald Sämtliche Werke Band 22.2.2010Other (Other academic)
  • 83.
    Ander, Owe
    et al.
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Department of Musicology.
    Lundberg, Mattias
    Principer, frågor och problem i musikvetenskapligt editionsarbete.: Exempel från pågående inventerings-, editions- och utgivningsprojekt.2009In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 91Article in journal (Refereed)
  • 84.
    Andersson, Anita
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Valåsens herrgårdspark eller Hack i häl på Linnerhielm2010Independent thesis Advanced level (degree of Master (Two Years)), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    This master´s thesis concerns the research field of historical gardens in the eastern part of the county of Värmland. Studies of the manor park of the iron works Valåsen during 400 years are reported. The garden culture at works in other parts of Sweden were at times high, and it is probable that so was also the case at the works in eastern Värmland. There is some literature available on parks at other works in Sweden, but not a lot written on this part of the country. In the dissertation an individual park surrounding an iron industri is described and motivations such as social status, nationalism and autobiography are suggested as of vital importance for the design of the park. Industrie ornée is suggested as a designation for this landscape park. The dissertation adds new knowledge to the body of Swedish garden history and is therefore of local and national interest. Facts were gathered from archives, published literature, historical maps and pictures, in-situ inspections and interviews. The analysis was inspired by the iconology of Erwin Panofsky.

  • 85. Andersson, Axel
    et al.
    Wahlberg, Malin
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    In the Wake of a Postwar Adventure: Myth and Media Technologies in the Making of Kon-Tiki2017In: Small country, long journeys: Norwegian expedition films / [ed] Eirik Frisvold Hanssen, Maria Fosheim Lund, Oslo: Nasjonalbiblioteket , 2017, p. 178-211Chapter in book (Other academic)
    Abstract [en]

    Kon-Tiki stands out as the most internationally successful and popular documentary ever produced by the Scandinavian film industry. Its box office success and 1951 Academy Award ensured this spectacular and risky sea crossing, a reenactment of a prehistoric voyage, would be seen around the world. In 1947, Thor Heyerdahl and five crewmembers covered the 8000 kilometres of ocean between Peru and a Polynesian island on a balsa raft that was constructed almost entirely without the benefit of modern tools, ropes, or nails. Heyerdahl undertook this voyage to prove his theory that prehistoric white people, who had initiated the great civilizations of the Americas, had sailed on to Polynesia. Basing his theory on pseudoscientific studies on “race” developed by writers like Arthur de Gobineau in the 19th century and further elaborated by the eugenicist movement of the early 20th, Heyerdahl proposed a constitutive link between whiteness and civilization. To bolster his argument, he interwove it with idiosyncratic interpretations of myths from the Americas and Polynesia. The Kon-Tiki project was designed to explore “non-western myths”, but the supposed verification provided by the expedition was based on colonial preconceptions, which were themselves expressions of racist and mythical assumptions of whiteness. The project also provided a new narrative that enshrined the event, including the word “Kon-Tiki”, in popular post-war culture.

    In this chapter, we argue that the Kon-Tiki as a historical expedition and a film deserves renewed attention beyond merely Norwegian film history. Most importantly, it reveals a transnational production history that in compelling ways yields new insights into the expedition film as media culture, screen event, and intercultural narrative in the post-war era. In the following chapter, we propose a critical reassessment of the Kon-Tiki to illuminate some historiographic aspects of myth and myth-making, and to look more closely at the international interests, transnational influences, and media technologies involved in how Heyerdahl created this narrative.

  • 86.
    Andersson, Elin
    Stockholm University, Faculty of Humanities, Department of History.
    Tobias Hume - skotsk gambist i svenska armén2014In: Tidig Musik, ISSN 1400-5123, no 4, p. 24-25Article in journal (Other (popular science, discussion, etc.))
  • 87.
    Andersson, Emelie
    Stockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies.
    Lidande, skönhet & frigörelse: En kvalitativ analys av Lana Del Reys musikvideor2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Jag har i denna uppsats utfört en kvalitativ analys på några av artisten Lana Del Reys musikvideos utifrån ett teoretiskt ramverk grundat i sexualitet och kritiska femininitetsstudier. Vid utförandet av analysen utformade jag två nya troper då jag inte fann några som inkluderade allt det jag tyckte mig kunna tolka mig till under analysen. De två troperna är “Det vackra lidandet” som främst utgår från kvinnligt lidande och destruktiv heterosexualitet, samt “Femmisk frigörelse” som främst utgår ifrån en queer frigörelse där gemenskap mellan kvinnor sätts framför manlig åtrå.

    Syftet med uppsatsen är att införa användandet av troperna och argumentera för varför de är användbara. Materialet jag använder är Lana Del Reys musikvideos och de analyseras genom kvalitativa tillvägagångssätt som närläsningar, queera läsningar och semiotisk analys. Troperna användes vid analysen av alla videorna: antingen separata eller överlappande och kunde även förekomma som alternativa versioner av sig själva. Genom användandet av troperna vill jag visa på hur femininitet och sexualitet ter sig och hur flytande de strömningarna är med ett material som sen tidigare är omdiskuterat att följa endast en utstakad väg, nämligen då den heterosexuella. I min analys fann jag inte bara patriarkal femininitet och heterosexualitet, utan det förekom även femininitet rotad i den lesbiska femmen och queer sexualitet. Del Rey visar upp en flytande relation mellan dem och kunde skifta mellan dem under loppet av en och samma video.

  • 88.
    Andersson, Frida
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    "Det känns som vi har bild en gång per år och då gör vi självporträtt": En diskursanalys av en ämnesintegrerad bildundervisning2013Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
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  • 89.
    Andersson, Frida
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Försköning genom mode: En studie av porträtt från sekelskiftet 19002017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen undersöker utifrån arkiv- och litteraturstudier hur avbildandet av kvinnor och män från de övre samhällsklasserna tog uttryck i porträtt från sekelskiftet 1900, med fokus på mode, konsumtion och iscensättning av en identitet utifrån de vid sekelskiftet rådande könsrollerna. Huvudmaterialet består av fyra porträtt som avbildar kvinnor och fyra porträtt som avbildar män målade av konstnärerna John Singer Sargent, Giovanni Boldini, Anders Zorn och Julius Kronberg mellan åren 1895 och 1903. Uppsatsen tar en utgångpunkt i de teorier om skådespelare, publik och scen som presenteras av Erving Goffman (1959), Lou Taylors teorier om modemagasin samt Shearer Wests teorier om porträttkonsten.

    Resultatet av undersökningen visar att porträtt från sekelskiftet 1900 som avbildar kvinnor från de övre samhällsklasserna inte alltid visar ett förskönat utseende hos kvinnorna. Hur kvinnor väljer att avbildas är individuellt, men det verkar finnas en koppling mellan bristen av ett förskönat utseende och en egen ekonomi. Där de kvinnor som har en egen ekonomi utöver sin makes inte porträtteras med ett riktigt lika förskönat utseende. 

  • 90.
    Andersson, Geska
    et al.
    Stockholm University, Faculty of Humanities, Department of Journalism, Media and Communication (JMK).
    Brecevic, Robert
    Stockholm University, Faculty of Humanities, Department of Journalism, Media and Communication (JMK).
    Thunell, Helena
    Performing pictures2008Book (Other (popular science, discussion, etc.))
  • 91.
    Andersson, Hans
    Stockholm University, Faculty of Humanities, Department of Slavic and Baltic Studies, Finnish, Dutch, and German, Slavic Languages.
    Något betydelsefullt: Leonid Dobyčins möten bortom orden i den sovjetiska samtiden2019Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis studies the 1931 short story collection Portret [The Portrait] by the Russian author Leonid Ivanovich Dobychin (1894–1936?). My main argument is that the principal theme in Dobychin’s writings arises out of the complexities of human encounters. 

    My approach is based on affirmative interpretations that I call “encountering” readings. They draw on critical practices developed by Boris Gasparov, who argues in his 2013 study of Pasternak Boris Pasternak: Po tu storonu poėtiki (Filosofiia. Muzyka. Byt) that the key to Pasternak’s work lies not in the dominant feature of their linguistic texture, but in the momentary states of everyday life that the author captures, and Henri Meschonnic’s Critique du rythme: Anthropologie historique du langage (1982). Meschonnic focuses on rhythm as an intrinsic aspect of the text that requires the reader to participate actively in appreciating the text as a work of art by following the interplay between rhythm, the active subject and what is expressed. Both scholars reflect a turn away from the linguistically informed theoretical approaches that dominated the academic study of literature in the twentieth century. 

    Similarly, I approach Dobychin’s characters on the level of their personal conflicts and everyday lives by simulating an interpersonal encounter in an anti-theoretical search for meaning that is congenial to both the central theme of the stories and the way in which they reveal human encounters “beyond words,” as it were, both within the works and with the reader, through suggestive associations and not yet categorized, “precategorial” experiences in everyday life. 

    The “unoutspokenness” (nedogovorënnost’)—i.e. reticence, a deliberate avoidance of explicitness that Dobychin’s contemporary critics ascribed to his writings and often disparaged as “incomprehensibility”—serves as a starting point for a critical discussion of both earlier research on Dobychin and theoretical approaches to literature more generally. In searching for a dominant formal feature, a ‘key’ or ‘code’, in Dobychin’s writings, earlier scholars have tended to describe it in terms of an anti-aesthetic. The alleged lack of plot, inner coherence and meaning is explained as deliberate, intended to performatively mirror the absurdness and inadequacies, the disorientation and loss of meaning in Soviet reality itself. In this thesis, I argue instead that there is no such lack or incoherence in Dobychin’s works. The “nedogovorënnost’” of his short stories is instead understood as an exact and purposeful way of conveying meaning through what is experienced and shared beyond words in a time that was overburdened with idealistic ideological discourses. At the heart of Dobychin’s stories are moments of fragile human interaction that underlie trivial dialogues and actions in banal everyday existence. The stories let the reader experience the sudden and unexpected human connections that the characters encounter in their everyday impressions. The contrasts and plurality of human perspectives thus perceived evoke a potential interaction beyond societal roles. These brief encounters are presented as something precarious in a Soviet society striving towards a single true ideology. Such a reading suggests that Dobychin is not so much a deliberately enigmatic author as a writer who aspires to express in words that which is profoundly wordless: the encounters between people outside of the ideological categories and discourses of their language.

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  • 92. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Accented cinema and beyond: Latin American minor cinemas in Sweden, 1970–19902016In: Studies in Spanish & Latin American Cinemas, ISSN 2050-4837, Vol. 13, no 3, p. 227-245Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to map and present professional and non-professional Latin American film-making that took place in Sweden from the early 1970s to the early 1990s. Most of the films from this period have been excluded from the established, canonical film history, both nationally and internationally. Another aim of the article is to argue for the importance of the concept of ‘minor cinemas’. This concept has the benefit of overcoming generalizing and reductive models of analysis and the historiography of Latin American film-making beyond that continent. Owing to an extensive focus on political documentary, third cinema, or the aesthetics of accented cinemas, the diversity of Latin American film-making in countries like Sweden has been neglected. Thus, this article calls for a transnational historiography that also encompasses minor histories and presents a critique of Hamid Naficy’s seminal theory of an accented cinema. In terms of theory, the article argues for a return to the theoretical interventions of the concept of minor cinemas made by David E. James and for a reactualization of Zuzana M. Pick’s early study on exilic Chilean cinema.

  • 93. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden2009In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, no 3, p. 207-218Article in journal (Refereed)
    Abstract [en]

    This article is a study of Swedish post-war amateur and experimental film culture. In particular, the 50s and the gradual divide between amateurs and experimentalists are examined. Peter Weiss' filmic output is used as an example of how the various cultures collaborated and later on split apart. The aim with the essay is also to intervene in the ongoing debate concerning film historiography by arguing for the usefulness of the concepts ‘minor cinemas’ and ‘public sphere’ in order to enable a more diverse, open and heterogeneous film history.

  • 94. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Amatör och avantgarde: de mindre filmkulturerna i efterkrigstidens Sverige2008In: Välfärdsbilder: Svensk film utanför biografen / [ed] Erik Hedling och Mats Jönsson, Stockholm: Mediehistoriskt arkiv/Statens ljud- och bildarkiv , 2008, p. 228-245Chapter in book (Refereed)
  • 95.
    Andersson, Lars Gustaf
    et al.
    Lund University, Sweden.
    Sundholm, John
    Karlstad University, Sweden.
    Editorial: Film Workshops in Europe2011In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, Vol. 8, no 3, p. 167-169Article in journal (Refereed)
    Abstract [en]

    An introduction is presented in which the authors discuss various reports within the issue on topics including the concept of film workshops, the politicized film culture in Spain, and the British workshop culture.

  • 96. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    "Hellre fri än filmare": filmverkstan och den fria filmen2014Book (Other academic)
  • 97. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Immigrant Film Co-Operatives in Sweden: The Most Typical Avant-Garde2022In: A Cultural History of the Avant-Garde in the Nordic Countries Since 1975 / [ed] Benedikt Hjartarson; Tania Ørum; Camilla Skovbjerg Paldam; Laura Luise Schultz, Leiden: Brill Academic Publishers, 2022, p. 703-714Chapter in book (Refereed)
    Abstract [en]

    The subtitle of this essay echoes the title of David E. James’s book The Most Typical Avant-Garde, which makes the claim that the various minor cinemas of Los Angeles (amateur, immigrant, artists’ etc.) constitute the most distinctive avant-garde “on behalf of cultural practices that are commonly supposed not to even have existed”. The heterogeneous Swedish avant-garde scene has definitely been conditioned by migrational and transnational practices; however, this essay deals with a specific forgotten aspect of Swedish avant-garde film history: the immigrant film-makers and their co-operatives and organisations. Our aim is to show that they have existed and why they should be considered as part of “the most typical avant-garde”. We focus on the description and analysis of three films by three different organisations that became cohorts of multilingual and collective film-making, ranging from purely organisational structures (Kaleidoscope, in the 1980s) to collective youth recreation work in the suburbs (Tensta filmförening, in the 1970s and 1980s) and to a co-op for self-organised and self-financed film-making (Cineco, in the late 1970s and early 1980s).

  • 98. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Spaces of becoming: the Stockholm Film Workshop as a transnational site of film production2015In: Transational Cinemas, ISSN 2040-3526, E-ISSN 2040-3534, Vol. 6, no 2, p. 156-167Article in journal (Refereed)
    Abstract [en]

    The aim of the essay was to present the Stockholm Film Workshop (Filmverkstan, 1973–2001) and its significance as a transnational site of film production. The films and the filmmaking at the workshop are considered as part of a minor cinema film practice in David E. James’s sense. James’s theory is complemented by returning to Gilles Deleuze and Felix Guattari’s original concept of minor literature in order to stress an analysis that is based on film as a means of production and cultural intervention. This point is emphasized by a presentation and analysis of how various professional and non-professional filmmakers from Colombia, Egypt, Greece and Turkey made use of film at the Stockholm Film Workshop in order to intervene in their new cultural situations. Thus, the textual model of film analysis that is prevalent in Hamid Naficy’s seminal work on accented cinema is complemented with theories of cultural production in order to enable an analysis of a transnational film practice that is on a par with the immigrant experience.

  • 99. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The Cultural Practice of Immigrant Filmmaking: Minor Immigrant Cinemas in Sweden 1950–19902019Book (Refereed)
    Abstract [en]

    Based on a research project funded by the Swedish Research Council, this book analyses 40 years of post-war independent immigrant filmmaking in Sweden. John Sundholm and Lars Gustaf Andersson consider the creativity that lies in the state of exile, offering analyses of over 50 rarely seen immigrant films that would otherwise remain invisible and unarchived. They shed light on the complex web of personal, economic and cultural circumstances around migrant filmmaking, and discuss associations that became important sites of self-organization for exiled filmmakers: The Independent Film Group, The Stockholm Film Workshop, Cineco, Kaleidoscope and Tensta Film Association.

    Using an innovative combination of key film theory, The Cultural Practice of Immigrant Filmmaking studies immigrant filmmaking in a transnational context, exploring how immigrant filmmakers use film to find a place in a new cultural situation.

  • 100. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The cultural practice of minor cinema archiving: The case of immigrant filmmakers in Sweden2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 79-92Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to present the archival practice behind two extensive research projects that we have worked on during the last decade: the Stockholm Film Workshop and minor immigrant filmmaking in Sweden. Archive has become a general catchword in today’s academia that encompasses several practices of collecting, storing, distributing and displaying. We will stress in particular – partly against the idealism of digital activism – that the archive is a locus of power. The struggle for archival acknowledgement is a question of how to establish an archival artefact, an object that may be stored and repeated, and thus to affirm it as something that cannot be disregarded. This is a practice in the way that theory also constitutes a practice: a way of intervening that is case sensitive and that constantly cuts across those four principles that Giovanna Fossati famously coined as ‘film as original’, ‘film as art’, ‘film as dispositif’ and ‘film as state of the art’.

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